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PROPERTY FROM A PRIVATE BRITISH COLLECTION

Paul Klee
JUNGER BLAUMOND (YOUNG BLUE-MOON)
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312

PROPERTY FROM A PRIVATE BRITISH COLLECTION

Paul Klee
JUNGER BLAUMOND (YOUNG BLUE-MOON)
前往

拍品詳情

印象派及現代藝術日拍

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倫敦

Paul Klee
1879 - 1940年
JUNGER BLAUMOND (YOUNG BLUE-MOON)
signed Klee (upper left); dated 1918, titled and numbered 13 on the artist's mount
gouache and watercolour on paper mounted on paper
image: 9.5 by 15cm., 3 3/4 by 5 7/8 in.
mount: 14.5 by 20cm., 5 3/4 by 8in.
Executed in 1918.
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來源

Kestner Gesellschaft Galerie, Hanover
Dr Küppers, Hanover (acquired by March 1919)
Dr Kauth, Berlin (acquired by November 1919)
Achim Moeller, London
Conrad Dehn Q.C., London (probably acquired from the above)
Thence by descent to the present owner

展覽

Hanover, Kestner Gesellschaft Galerie, Paul Klee, Lyonel Feininger, 1919, no. 16

出版

Paul Klee. Im Zeichen der Teilung (exhibition catalogue), Kunstsammlung Nordrhein-Westfalen, Düsseldorf & Staatsgalerie, Stuttgart, 1995, n.n, illustrated p. 334
Paul Klee Stiftung (ed.), Paul Klee, Catalogue Raisonné, Bern, 1999, vol. II, no. 1860, illustrated p. 438

相關資料

'Many a blond, northern moon rise, like a muted reflection, will softly remind me, and remind me again and again. It will be my bride, my alter ego. An incentive to find myself. I myself am the moonrise of the South'

(quoted in Christine Hopfengart & Michael Baumgartner, Paul Klee, Life and work, Zentrum Paul Klee, Bern, 2012, p. 66).


The delicate watercolour Junger Blaumond (Young blue-moon) was originally created as part of a diptyque representing a seascape by night, but Klee eventually decided to separate the seascape into two independent works. The upper part of the diptyque was subsequently named Fata Morgana zur See (Mirage by the sea). Compared to other nautical scenes created by the artist during World War I, the present work is particularly luminous. Junger Blaumond was created at a particular time in the artist’s life when colour returned to the forefront of his œuvre for the first time since his celebrated series of Tunisian landscapes in 1914. Inspired by a Chagall exhibition in Berlin in 1917, Klee introduces a palette of tender and transparent washes of colour complementing the fine lines of his drawing. The vibrant blue colour of the moon can be associated with the search for the “spiritual in art” promoted by the Blaue Reiter group, of which Klee was a founding member. The motif of the moon appears to be of great importance to the artist, as stated in one of his notebooks: 'April 12. The evening is indescribable. On top of it all the full moon rises. L. is prodding me. He wants me to paint it. I say: it won’t be any more than an exercise. In the face of such nature I am bound to fail. And yet I know something more than I did before. I know the road from my failure to nature. That is an internal affair to keep me busy for the next few years. It doesn’t trouble me one bit. No use hurrying when you want so much. This evening is deep inside me – forever'  (quoted in Christine Hopfengart & Michael Baumgartner, Paul Klee, Life and work, Zentrum Paul Klee, Bern, 2012, p. 66).

印象派及現代藝術日拍

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倫敦